3. Problem Definition

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3.1 Film Market Revenue Structure

Fan Perspective

Problem	Current Situation
Participation Disconnect	After a theatrical viewing, 94% drop off with no further participation. There is no pathway to participate in the production process or have opinions reflected.
Platform Fragmentation	Content (OTT), tickets (Interpark), goods (studios), and community (SNS) are each operated separately.
Global Access Barriers	70% of overseas fans of Korean content cannot access exclusive events and limited-edition products. A Korean payment method is required.
No Revenue Linkage	Fans’ contributions (promotion, community activities) do not connect to any form of economic reward.

Production Companies / Creators Perspective

Problem	Current Situation
Revenue Concentration	85% of total revenue occurs within 4 weeks of release. After that, IP monetization pathways are limited.
Opaque Settlement	Multi-step settlement: box office → distributor → investor → production company. Real-time tracking is impossible.
Fan Data Disconnect	OTT viewing data, goods purchase data, and event participation data are not integrated.
Funding Constraints	Competition for traditional investment is intensifying. Securing funding for small-to-mid-scale projects is becoming more difficult.

OTT Platform Perspective

Problem	Current Situation
Subscription Fatigue	Households subscribe to an average of 4.2 streaming services. There are limits to driving additional subscriptions.
Worsening Profitability	As of 2Q 2025, TVING continues operating losses. Recovering returns relative to content investment is taking longer.
Limited Differentiation	Competing continuously with global platforms like Netflix based only on budget scale is not feasible.

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3.2 Core Structural Problems

1. One-time Consumption Model

[Current Structure]
Fan → Buy movie ticket → Watch → End

[Result]
- IP lifespan: 4–6 weeks
- Fan re-engagement rate: 6%
- Post-release monetization: almost none

2. Disconnection Between Fans and Production

Stage	Fan Role	Problem
Planning	None	No channel for reflecting opinions
Production	None	Cannot participate in the process
Release	Audience	One-way consumption
After	None	Relationship ends

3. Exclusion of Global Fans

• Overseas fans of Korean content: estimated ~100 million (K-content exports: $13.4B, as of 2024)

• Only available participation channel: watching local OTT

• Crowdfunding, goods, events: effectively excluded due to requiring Korean payment methods

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3.3 Quantitative Impact

Metric	Figure	Source
Decline in theatrical revenue	-12.4% YoY	Korean Film Council (KOFIC), 2025
Average IP active period	4–6 weeks	Industry estimate
IP lifespan with transmedia utilization	2+ years	'Solo Leveling' case
Willingness to pay for exclusive content	73%	Korea Creative Content Agency (KOCCA), 2025
Inaccessibility rate for overseas fan events	70%	Industry estimate

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3.4 Limitations of Existing Solutions

Solution	Attempts	Limitations
Crowdfunding	Wadiz, Tumblbug	Only sponsorship; no revenue linkage. Korea-only payments.
Fan platforms	Bubble, Weverse	K-pop-focused. No film/drama application cases.
Goods sales	Studio direct operation	One-time purchase. Cannot drive sustained participation.
OTT exclusives	Tving, Coupang Play	Revenue accrues to the platform. No economic participation for fans.

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3.5 Problems Viber Solves

Problem	Viber Solution
Participation Disconnect	Staking-based voting rights, participation in the production process
Opaque Revenue	On-chain settlement, transparent execution of Buyback & Burn
Global Exclusion	Borderless participation via crypto payments
IP Lifespan Limits	Incentives for sustained participation, community governance
Platform Fragmentation	A single ecosystem: content + participation + rewards

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